Lud, zbunjen, normalan - 154. epizoda (S6E10)
Lud, zbunjen, normalan - 155. epizoda (S6E11): https://dai.ly/x91a14q (Sledeca epizoda)
Lud, zbunjen, normalan - 153. epizoda (S6E9): https://dai.ly/x91a02s (Prethodna epizoda)
Lud, zbunjen, normalan - 153. epizoda (S6E9): https://dai.ly/x91a02s (Prethodna epizoda)
Transcript
00:00This video was made with the support of the DNK Foundation and the DNK Research Institute.
00:05This video was made with the support of the DNK Foundation and the DNK Research Institute.
00:10Come here, darling, let me kiss you one more time.
00:15Come on, man, you've spoiled me so much, you've kissed me so much.
00:20Come on, tell me, what exactly did he say?
00:25There's no doubt, I gave the DNK sample for analysis.
00:29My son is 100% Fazlinović.
00:31We have to tell that to Izet, so he doesn't have to worry for three days.
00:35Come on, man, you've spoiled me so much, you've kissed me so much.
00:41Of course. If the news is bad, the carrier should be killed.
00:45If the news is good, the old Siberian wisdom should be kissed.
00:51Come on, tell me one more time.
00:55I've told you six times.
01:00Come on, seven more, you never have to do it again.
01:03There's no doubt, Damir is the father and I'm the grandfather.
01:07What does it matter? What are you?
01:09What matters is that I'm the great-grandfather.
01:13Come on, great-grandfather, you've spoiled me so much.
01:18You know, son, when you think about it,
01:22and without the DNK, you can see that Djebrica is 1000% ours.
01:27It's not just a nice, well-behaved, cultured child.
01:33It's a small par excellence of Fazlinović.
01:37A psychologist?
01:40Do you think our Djebica should go to a psychologist?
01:44That wouldn't be a no-no.
01:46Lately, he's been very aggressive towards other children.
02:01You know, aggression in children of divorced parents
02:04is, believe me, a very, very common phenomenon.
02:07Children communicate their frustration in that way
02:11because their parents are not together.
02:41It's not just a nice, well-behaved, cultured child.
02:46It's a small par excellence of Fazlinović.
02:51It's a small par excellence of Fazlinović.
02:56It's a small par excellence of Fazlinović.
03:01It's a small par excellence of Fazlinović.
03:06It's a small par excellence of Fazlinović.
03:10It's a small par excellence of Fazlinović.
03:15It's a small par excellence of Fazlinović.
03:20It's a small par excellence of Fazlinović.
03:25It's a small par excellence of Fazlinović.
03:30You have to understand, Faruk,
03:33when I saw you dancing,
03:37waving a gun at those women, shouting...
03:41What could I think of?
03:44Senči, it's all a mess,
03:48a bunch of crazy, stupid circumstances.
03:52But, Faruk, those crazy, stupid circumstances keep happening to me.
03:55But that's it, Senči.
03:57The Faruk you knew doesn't exist anymore. He's the past.
04:01There's a new Faruk on stage,
04:04a Faruk who's a producer of a play,
04:07a Faruk who gets up early, who works,
04:10who's the first in the dressing room, who's the first in the make-up room,
04:13a Faruk who...
04:16who loves you.
04:19Even though that old Faruk loved you.
04:23But this new Faruk, Senči, he loves you.
04:27He loves you a lot, a lot more.
04:32You're right, there's no more of those crazy, stupid circumstances.
04:36No, there isn't. What wouldn't I do for you, Senči?
04:43I don't know, Andrija, but if the teacher is right about what she said about Džemica,
04:47then we really have a problem.
04:49I don't know. I mean, I know, but...
04:51What do you know?
04:53It's a little funny.
04:54What's going on in your head?
04:56What if the teacher is right about Džemica?
04:59He's very aggressive, really, because his parents...
05:02Divorced.
05:03Yeah, and if that triggers his aggressiveness,
05:06the fact that we're divorced,
05:08maybe there's a solution to that problem.
05:10Is there?
05:11Well, I mean...
05:13Look.
05:15They wouldn't be the first to get divorced,
05:17and then get married again.
05:23You mean...
05:30Is that a yes?
05:31Ten out of ten, that's a hundred percent yes!
05:35I have to call my parents.
05:37Damir, the phone is more important than the news.
05:40You're right. I have to tell my sister about this.
05:43I have an idea.
05:44I'm nervous.
05:46No one has a better answer than Dizet
05:49in a situation like this.
05:51Who's bothering me now?
05:55Damir, son, tell me.
05:59Where is it burning?
06:00It's not burning anywhere.
06:03I want to ask you,
06:04don't plan anything tomorrow night.
06:07We want to take you and Barbara out for dinner.
06:12We have something very, very important to tell you.
06:15Great, I hope so too.
06:17We have something to tell you.
06:19See you tomorrow.
06:21Damir?
06:22Yes.
06:23Barbara and he are inviting us to dinner.
06:25Great.
06:28Oh, son.
06:30Oh, my son.
06:33Oh, my son.
06:35Hello!
06:36Hey, pigeons!
06:38I'm so glad you're back together.
06:41That ugly object.
06:43Leave your toys at home.
06:45I warmly recommend sleeping in your room.
06:47Maria, youth, madness.
06:50That's because you're not young and you have no one.
06:54Well, you see, on that plan,
06:56things are starting to change.
06:59What?
07:00Have you found someone?
07:01Maybe.
07:03I met a guy.
07:05I really like him.
07:07Do you know what he is?
07:09What?
07:10President of the Management Board of Herzegovina Radio and Television.
07:13Hey!
07:14Oops.
07:15Wait, that's some kind of Moscow TV.
07:17Maria, was it that?
07:21I don't know, we just met.
07:23Listen, we'll see.
07:25I had, like...
07:27Never mind.
07:28Come on, when you started, finish.
07:30What?
07:31Well, he's a little ugly.
07:33I mean, a little unusual.
07:36He has a terrible nickname.
07:38What?
07:39What's his name?
07:40Maria.
07:42I'm glad.
07:46Jure.
07:49Jure Zaklan.
07:51Zaklan!
07:53Yes.
07:56Jure Zaklan.
07:59Well, one day, the two of them were talking behind the bar,
08:02probably some of his friends.
08:03Here's Jure Zaklan in the toilet.
08:05I called the police.
08:11So, that Faruk of yours, he directed a series?
08:15Yes, yes, he directed and produced.
08:17They filmed here at my place.
08:20From what I've seen, it's going to be fantastic.
08:23There's a studio up there.
08:26Why don't you come back to his place?
08:28Nikac doesn't know, maybe he can cooperate with you.
08:30If you know and want to.
08:32I have nothing to lose, right?
08:34Good day.
08:35Good day.
08:37I need the owner of the bar.
08:40The owner doesn't exist.
08:42Listen, how is that possible?
08:45You are the owner.
08:47What do you need?
08:48Sanitary inspector Kurteš.
08:50I need to see your kitchen.
08:52And, in general, sanitary conditions.
09:00What's wrong with your back?
09:03Do you want someone to put it on you from the door?
09:06Oh, your hand.
09:09My back hurts.
09:11I can barely see.
09:13My back is swollen between 3rd and 8th.
09:16Between 3rd and 8th?
09:17Yes, yes.
09:18It hurts on 4th, 5th, 6th and 7th.
09:22Tell me, did Charjo call?
09:24No one called, but the phone rang.
09:26No one called, but the phone rang?
09:28Yes, several times.
09:30But I couldn't get out of this position.
09:32Then why did you come here?
09:34Why didn't you stay at home?
09:35You don't call home on the phone.
09:37Why do we need that Charjo?
09:39What do you mean, why do we need him?
09:41I gave him a pilot episode to watch.
09:43If he likes it, he'll order us 24 pieces.
09:46Don't talk about this.
09:48He has to like it.
09:49I watched it this morning.
09:50It's a really good episode.
09:52I liked it.
09:53If you liked it, then we all look bad.
09:55Do you know what's the best scene?
09:57When that guy shoots the car.
09:59We filmed that really well.
10:01What car?
10:03We don't have any exterior in the episode.
10:09Maybe I watched something on TV.
10:12But in any case, it's a really good episode.
10:33Hello, this is the production team.
10:35Faruk Fazlinovic on the phone.
10:37I'm the director, producer and editor.
10:40Alfa and Omega Productions.
10:44Oh, it's you, Mr. Charjo.
10:48I didn't expect to call you this week.
10:53Tell me, did you watch our pilot episode?
10:58Yes, you did.
11:00Tell me, how did you like it?
11:11Mr. Charjo, we watched it again.
11:19You're not crazy.
11:24Goodbye.
11:27Talk, Rukva, what does he say?
11:29Mr. Charjo, we watched it again.
11:31So, nothing from the sequel?
11:33Nothing.
11:34That's a shame.
11:36And that scene when that guy shoots the car.
11:39Do you know how it was filmed?
11:41Like in Hollywood.
11:42Mr. Charjo, if I shoot you,
11:44all the dust will fly out of your ears.
11:48Hello.
11:51Faruk.
11:53Yes, go ahead.
11:55Hello, I'm Jure.
11:58Jure Zaklan.
12:00Faruk Dragović.
12:01Did Maria tell you?
12:03Is Maria Zaklan?
12:05No, I'm Zaklan.
12:07Jure.
12:08Jure Zaklan.
12:09You look good, man.
12:11Let him be, Mr. Jure.
12:13He's a fool.
12:14We keep him here because of the hard physical work.
12:17Yes, Maria told me last night
12:19that you're the chairman of the board
12:21of Herzegovina TV.
12:23Yes, that's right.
12:25She introduced me to your board of directors.
12:28They told me you're shooting a series here.
12:31So I said I'd fly in and see.
12:33We're thinking of buying a home-made,
12:36played series on our TV.
12:38Well, you know, Mr. Jure,
12:40there's a lot of demand for our series.
12:44Everyone would like to buy it.
12:46It's not like that, Rukvaševo.
12:48A little while ago, a man called...
12:50For a cap, for a cap.
12:52Mr. Jure,
12:53BBC wants to buy it.
12:55TRT wants to fuck in Turkish,
12:58and BBC wants to fuck in English and French.
13:01Well, if TRT wants to buy it,
13:03then it's too late.
13:05No, Mr. Jure, it's not like that.
13:07If you're Marin's friend,
13:09Maria, believe me, owed this production...
13:12Yes, she owed me, too.
13:1450 marks.
13:15If I don't get it back by tomorrow,
13:17she'll break my legs.
13:19So there's still a chance
13:21that we'll show your series on our TV.
13:25Well, now, Mr. Jure...
13:29Please, have a seat.
13:31Let's...
13:32Međude, get out of there.
13:34Please, have a seat here,
13:36so you can watch our pilot episode
13:38and tell us what your impressions are.
13:41Please, Jure, have a seat.
13:43You'll see.
13:45But believe me, Jure,
13:47this is a masterpiece of a TV play.
13:51Please, have a seat.
13:53Thank you.
13:54Blata Dea.
13:56A scientific expression derived from Latin.
13:59Blata in translation, zohar.
14:01So, ma'am, this is your zohar.
14:04And it's very well preserved.
14:07Yes, dear inspector,
14:09so this is what a zohar looks like.
14:12Yes, this is what a zohar looks like.
14:15I don't know how it got here,
14:17because I keep the kitchen perfectly clean.
14:20It's a sanctuary for me.
14:22Ma'am, I haven't been in it for two minutes,
14:25and I've seen four zohars like this.
14:27You're a lego disease.
14:29Please, don't.
14:30Please, there are four of us.
14:32Now, that's it.
14:34What are you writing?
14:36Don't write.
14:37First, have a drink.
14:39Eat something.
14:40What, you want me to eat?
14:43Maybe if you order from another restaurant, you know.
14:48Sure, no problem.
14:50Just tell me why you're here.
14:52Do you want lamb?
14:53Ma'am, I'm sorry,
14:55but you'll have to close the tavern.
14:57Renovate the kitchen,
14:59give us a request,
15:00and we'll see.
15:02Beef steak.
15:04Mixed meat.
15:06Here you are.
15:07Goodbye.
15:08A little lamb.
15:11Beef.
15:12That one.
15:17What's wrong with me?
15:18I'm not hungry.
15:21I have to admit,
15:23it's a potent program.
15:25I haven't seen it for a long time.
15:27Mr. Jure, what did I tell you?
15:29Don't call me for no reason.
15:31Ten times a day,
15:32from the BBC,
15:34from Trta.
15:35Here.
15:39BBC.
15:40Yes, Faruk Fazlinović, director, is here.
15:44Please, don't call me
15:47every day one hundred times.
15:50Goodbye.
15:51What's this, Bee?
15:53What can I tell you?
15:54The BBC ones are even nicer and more cultured.
15:57But Trta?
15:58Trta is killing me.
16:00As far as I'm concerned,
16:01I'd advise you all
16:03to continue filming your series.
16:05But I don't decide that,
16:07the Board of Directors does.
16:09Is there any chance
16:10that you'll make a comedy out of this series?
16:13You don't think it'll be a soap opera,
16:15but a sitcom?
16:17That's it.
16:18On our television,
16:19we prefer it to be a comedy.
16:22It's a sitcom, Jure.
16:23There's no dramaturgy.
16:24We just put jokes in the dialogues,
16:26and that's a sitcom.
16:27Excellent, excellent.
16:28Listen, we have a meeting
16:30with the Board of Directors in Mostar tonight.
16:32It would be good if you could come
16:34and present your series to the Board of Directors.
16:37To Mostar?
16:38Why not?
16:39The Board of Directors is watching the series,
16:41you tell them a few words
16:42about your production house,
16:44and what do you say?
16:45Of course, Jure, I can.
16:46Of course I can.
16:47Excellent, excellent.
16:50Then we'll see you in Mostar.
16:52But what about the gentleman?
16:54What's wrong with him?
16:56That's not the gentleman.
16:57Believe me,
16:58there's nothing wrong with him.
17:00The gentleman's back just hurts a little.
17:03Excellent.
17:04That's not a problem at all.
17:05I had a similar thing a while ago,
17:09and then they told me to play football
17:11after five weeks.
17:12No pain, no gain.
17:13Football.
17:14Ball, Kufa, ball!
17:17Football.
17:18Sports discipline.
17:20And it was better than football, right?
17:22Believe me, you'll mention me.
17:24I warmly recommend it.
17:25See you in Mostar.
17:26Bye.
17:27Bye.
17:30Yes!
17:32Yes, yes!
17:34I'm so happy!
17:36Oh, I'm so happy!
17:38This could have been saved
17:40at the last minute!
17:42Which one?
17:43This one for football, right?
17:45Well, this one for the series,
17:47you idiot.
17:48Oh, yes, that too.
17:50But, Rukvash,
17:52can I ask you something?
17:53Ask.
17:54Do you think this Jure
17:56is a bit, you know,
17:58gay?
17:59You're such an idiot.
18:01What do you know about gays?
18:03I know a lot about gays.
18:05I had a gay relationship with a girl.
18:07Well, you see,
18:08now that they're throwing that bomb in my ear,
18:11I think she's a two-timer.
18:13Yes, yes.
18:15I know that.
18:16I'm your, how do you say it,
18:18bisexual.
18:19How are you a bisexual?
18:21Well, I'm bi, and they don't let me.
18:24Well, I'm bi, and they don't let me.
18:26Logically, bisexual.
18:29Well, yes, I am.
18:31Did someone help you?
18:33No one.
18:36Well, I know those things.
18:38Come on, shut up, you idiot.
18:40I have to pack this
18:42professional CD.
18:49I can do better without it.
18:51Oh!
18:54Where are you, grandpa? What's up?
18:56I'm getting bored.
18:58Well, I have a great idea
19:00to break your boredom.
19:02What do you have to break my boredom?
19:04And where did you get the idea
19:06that boredom has a negative connotation?
19:08Well, boredom is the most beautiful thing
19:11that can happen to a man in the world.
19:14It means that everything is just right for him.
19:17Boredom is a privilege
19:19that you have to fight for.
19:21Oh, so you're not bored yet?
19:23With all my nonsense,
19:25I'm still bored.
19:27You have to know how to enjoy boredom.
19:29You see, I'm watching this
19:31how they're pulling.
19:33Then at six o'clock I have the first diary.
19:35At seven I switch to the second.
19:37Then on the third channel
19:39there will be the third diary.
19:41And so I watch everything until I watch
19:43the last one around midnight.
19:45I watch seven or eight diaries.
19:48I watch and where are you going
19:50son of a bigger boredom?
19:52Well, in the evening I could
19:54skip one, two, three diaries.
19:56Why? What is offered?
19:58We'll take you to dinner.
20:00With whom?
20:02Barbara and I are making dinner.
20:04There will be Faruk and Senada.
20:06The choice of society is a guarantee
20:08of the ultimate boredom.
20:10I'm in.
20:12You'll hear that tonight.
20:14Be ready around eight.
20:16I beg you.
20:18Dress code. Ready.
20:20All English words in Bosnian.
20:22Well, there are Americans.
20:24I'm coding everything.
20:26We're closed.
20:28We don't work because of the renovation.
20:30And you are.
20:32I called you to let you know.
20:34You said something and let me hear it.
20:36Are you crazy?
20:38What do you call me?
20:40I had an inspection.
20:42They locked me up.
20:44They don't know our papers.
20:46Only in China
20:48your kitchen
20:50wouldn't be a kitchen, but a farm.
20:52You're weird.
20:54Did Senada come?
20:56No.
20:58What do I do now?
21:00We agreed to meet here.
21:02She's waiting here.
21:04Let's have a drink together.
21:06I need it too.
21:08Your friend is coming.
21:10What happened?
21:12I'll come tonight,
21:14but thank you for inviting him.
21:16You're welcome.
21:18A beer?
21:20Yes.
21:22Maria,
21:24are you serious
21:26or are you just doing that?
21:28Look at him.
21:30I don't know what's going to happen.
21:32We'll see.
21:34I like him.
21:36I don't want to spoil your mood,
21:38but I don't want you to be hurt.
21:40Why?
21:42What did you find out?
21:44That he's not married?
21:46No, he's not married.
21:48He's hitting on you.
21:50Hitting?
21:52I mean, he's hitting on a gay.
21:54You have no idea.
21:56How do you know that?
21:58I don't have such a premonition.
22:00Faruk, you're such a Balkan guy.
22:02Just because a man is decent,
22:04refined, smells good,
22:06and doesn't stink like you,
22:08there's hope.
22:12Hi. Did I keep you waiting?
22:14No,
22:16but we have to go somewhere else.
22:18Maria is locked up.
22:20You can sit while I prepare the kitchen.
22:22It'll take a while.
22:24Go kill a million men.
22:26Maria introduced me
22:28to that jerk, Juro.
22:30So you introduced him to him, too?
22:32What do you think?
22:34I don't know.
22:36I think he's nice.
22:38I just think he's a bit gay.
22:42So you noticed, too?
22:44I mean, such an impression
22:46leaves me in doubt.
22:48Me, too.
22:50I don't get it.
22:52If he's gay, what's he doing with Maria?
22:54You know how it is here.
22:56If you're gay, people think
22:58you're worse than a fascist.
23:00That's why gays have wives and daughters.
23:02They even have children.
23:04They disguise themselves as chameleons.
23:06You're right.
23:08I have to find out
23:10if that jerk is gay.
23:12Maria is my friend.
23:14Wait, how will you find out?
23:16I don't know. I'll find out.
23:24Tell me,
23:26why did you invite us
23:28to dinner?
23:30Tell me,
23:32why did you invite us to dinner?
23:34You'll find out when we're all together.
23:36Right, Barbie?
23:38Right.
23:40I've been reading
23:42between the lines.
23:44You've been calling her Barbie
23:46all the time lately.
23:48I hope she's not
23:50on her high horse again.
23:52I just got a little drunk.
23:54I see.
23:56Don't worry.
23:58No one's hard-working.
24:00Thank you.
24:02Bye.
24:04Where are you going?
24:06Didn't I lock the door?
24:08Mare, if you're going to
24:10lock the door,
24:12you don't have to go far.
24:14San Remo is closed to the public.
24:16The doctors from the inspection
24:18found a couple of homies
24:20and locked the door.
24:22They eat shit.
24:24Barbie, what are we going to do now?
24:30Traitor!
24:32Now you've found a way
24:34to trick me!
24:36You're a traitor!
24:38How am I going to get
24:40to Mostar now?
24:42What? Traitor!
24:44Traitor!
24:46Mr. Faruk, is that you?
24:48It's me, Jure.
24:50The car won't let me in.
24:52I have to go to Mostar.
24:54You can come with me
24:56if you want.
24:58That's great.
25:00Jure, let me get
25:02a professional DVD.
25:04I'll put it
25:06in a professional case.
25:08That's for the show
25:10we're going to show.
25:12I'm so glad
25:14we're going to travel together.
25:16When I travel alone,
25:18the car is right behind me.
25:20Great. We'll have fun downstairs.
25:22Come on.
25:24Come on.
25:26Take your feet off the ground.
25:28I don't want anyone
25:30checking me out.
25:32Okay, okay.
25:36Damir, pizza!
25:38Great, Barbie!
25:40Grandpa, Barbie has
25:42a great idea.
25:44We order pizza, open a few bottles of wine
25:46and have dinner at our place.
25:48I agree. Maybe I'll get a four-day pass.
25:50There you are.
25:52Hey.
25:54Sandra, Remo isn't working.
25:56I know. I was overworked today.
25:58Barbie has a great idea.
26:00We order pizza, open a few bottles of wine
26:02and have dinner at our place.
26:04Where's Faruk?
26:06I don't know. He didn't call me.
26:08He's been bugging me about the show.
26:10I hope he didn't forget.
26:12No, no, no. He has to come.
26:14This is very important to me and Barbie.
26:16Very, very important.
26:18Let's go home now
26:20I don't want to go out
26:22I'm all by myself
26:26But it hurts the most
26:28when I know
26:30that you're crying
26:32because of my back
26:34Thank you, sir. Thank you.
26:36You're very kind. Thank you very much.
26:38Thank you.
26:40Oh, Rukvash!
26:42What's up?
26:44How are you?
26:46What are you doing here, you fool?
26:48I'm Rukvash. I'm here to buy a football.
26:50I've decided to listen to Mr. Zaklan
26:52and to start playing football.
26:54That's great.
26:56Great.
26:58Running will strengthen your back muscles
27:00and you won't have back pain anymore.
27:02Listen, here you go.
27:04You should buy a ball
27:06so that people don't have to
27:08suffer from your nagging.
27:10Don't be naive, Rukvash.
27:12Your football is 450 euros.
27:14450 euros? What kind of football is that?
27:16Professional, Mr. Zaklan. Professional.
27:18Oh, here it is.
27:20It's just that it's not...
27:22What's it going to do now?
27:30He's such a fool.
27:32Every 15 minutes he spills water.
27:34I don't know what's wrong with him.
27:40Excuse me, Igor.
27:42We can't do this.
27:44We have to go to Mostar tonight
27:46with the board of directors.
27:48Maybe we won't rush.
27:50We'll just dry the wardrobe
27:52and we'll be there for sure.
27:54Is this Kufa a musician?
27:56He's not, but he thinks he is.
27:58We should tell him, brother.
28:00He's such a fool.
28:02Excuse me.
28:04Here we are.
28:06It can be nice here, too.
28:08It can be nice.
28:10I'm going to turn on the TV
28:12He's such a fool.
28:14Maybe we should tell him we're here.
28:16I'll just leave the pizza.
28:18It smells.
28:28I'll put your jacket here.
28:32Give me that shirt
28:34so I can make you
28:36a little shirt.
28:38I learned this
28:40in elementary school.
28:42I was the president of Gurana.
28:46This will dry in five minutes.
28:50You don't have any other clothes?
28:52Is this the only one you have?
28:54No, no, no.
28:56I have clothes.
28:58I have armbands.
29:00I have a boss.
29:02I just gave it to him to clean.
29:06It's a little cold here.
29:08Do you need anything?
29:10No, what can we do?
29:14Hold this shirt.
29:16I have this jacket,
29:18so we can warm up a little.
29:22I have this thermal jacket.
29:24It has styrofoam in it.
29:26It's thicker.
29:28I'll take this regular one.
29:32It's smaller for me.
29:34Give me the shirt.
29:36The fourth day is over.
29:38I'm sure
29:40something happened
29:42between the third and the fourth.
29:44Here's the glass.
29:46Did you open it?
29:48Just now.
29:50I'll call the old man
29:52and see where he is.
29:54I'm surprised he didn't come to Sanremo.
29:56He was so excited yesterday.
29:58We'll see where he is now.
30:00Here, call him.
30:02It's so cold.
30:06I just need to find
30:08where my phone is ringing.
30:10We'll go
30:12for a drink
30:14during the day.
30:16I think it's here.
30:18It'll warm us up.
30:22Fuck.
30:24Damir, son.
30:26It's you.
30:28Where are you?
30:30We made a deal
30:32that you'll come tonight.
30:34I didn't sleep.
30:36I had an urgent job.
30:38Yes, yes.
30:40It's about the pilot episode
30:42I told you about.
30:44We have a meeting
30:46of the administration.
30:48I don't care what you have.
30:50I insist you come.
30:52What we have to tell you is very important.
30:54But I'm already in Mostar.
30:56I'm at a meeting, son.
30:58There's a day stay.
31:00I'm going to get you a drink.
31:02What do you mean?
31:04I left two hours ago.
31:06Listen, son.
31:08I'm in Mostar
31:10next to Neretva, Radobol,
31:12Mrmlja, Veres and Prska.
31:14It's so nice here.
31:16If you see Senad,
31:18tell her...
31:20Dad!
31:22Senad is here.
31:24You tell her.
31:26Damir!
31:28Senči!
31:30What are you doing here?
31:34Son, Faruk.
31:36If you're so naked
31:38next to Neretva,
31:40you'll screw me over.
31:42What are you doing here?
31:44Isn't it weird?
31:46It's weird that we're eating pizza
31:48and drinking wine.
31:50Good evening, Senad.
31:52We met at Marija's.
31:54Jure.
31:56Zaklan.
31:58Do you think Marija is gay?
32:00Do you really think so?
32:02Senči, I'm not gay.
32:04Who's gay?
32:06I'm fed up with you, Faruk.
32:08Senad,
32:10that's not what you think.
32:14I can't believe
32:16this happened.
32:18Jure, Zaklan.
32:20The circumstances.
32:28Jure, Jure!
32:30Aren't you in Mostar?
32:32Oh, Marija.
32:34I had a drink and I froze.
32:36Here, here.
32:38Tell me, what happened?
32:40Wait, Marija.
32:42Let me ask you first.
32:44Are these Fazlinovićs
32:46always crazy
32:48or is this just for special occasions?
32:50Not always.
32:52They're always crazy.
32:54Marija!
32:56Senad!
32:58No, why?
33:00Goddamn it!
33:02Here, look.
33:06Senči, I'm begging you.
33:08I know, I know
33:10that I promised you
33:12that I would never
33:14do anything stupid again.
33:16But that's all
33:18a bunch of stupid circumstances.
33:20Multi-stupid circumstances.
33:22Senči, don't let me down.
33:24Let me down.
33:26What is it, Rukoš? Did I screw you over?
33:28This time
33:30it won't be easy.
33:32What's wrong with you?
33:34When I'm stupid, I listen to your
33:36Zaklan that football will help me.
33:38My back hurts.
33:40I played half a game and I'm 10 times worse than before.
33:42Why? Did you overdo it?
33:44I didn't overdo it.
33:46It's because of the specific
33:48position of the body in play.
33:50What specific position of the body?
33:52Here, I'll show you.
34:00Like this.
34:02What kind of position is that?
34:04Who else plays
34:06football like that?
34:08How is it different?
34:10You show me, if you know.
34:12You have to bend your back and grab
34:14these handles.
34:16What handles in football?
34:22Here you go.
34:26Look, son.
34:28Mom and I are aware.
34:30We know that our divorce has hurt you, but...
34:32That's not the reason
34:34to teach other kids.
34:36Mom and I have great news.
34:38We're getting married again.
34:40What? What did you say?
34:42I don't care. Say what you want.
34:44I'm not here as a kid because of your divorce.
34:46Who says?
34:48The school psychologist.
34:50There's a letter.
34:52Where?
34:58Come on, play with me.
35:00What does it say?
35:02Wait.
35:04Let's see.
35:06Blah, blah, blah.
35:08Look at this.
35:10What?
35:12It says that his aggressiveness
35:14is caused by long and
35:16irrational conversations with his great-grandfather.
35:18That's why.
35:20I've never seen them talk
35:22for more than two minutes.
35:30My dear, faithful,
35:32tireless and
35:34insatiable father,
35:36I know that my book
35:38is in bed with you now.
35:40Just a few more sentences
35:42about the titular age and
35:44you'll fall into a blissful dream.
35:46In total,
35:48in those golden times,
35:50there was only one diary.
35:52What's on the diary
35:54is a thousand percent.
35:56There are no duplicates.
35:58Today, 100 channels, 100 diaries.
36:00They talk about the same things,
36:02but in different ways.
36:04On one diary,
36:06about a policeman,
36:08only about gratitude,
36:10you switch to the other channel
36:12the same policeman,
36:14the same thief,
36:16and so on.
36:18While the brother was walking
36:20with the land,
36:22he didn't have to think about anything.
36:24You turn on the diary
36:26and they tell you what and how to do.
36:28Good night,
36:30we told you,
36:32good night,
36:34my faithful father.
36:45Let me live,
36:47just to survive.
36:49A little sadness and happiness,
36:51life will not wait.
36:53Let me live,
36:55just to survive.
36:57A little fear and pain,
36:59life is to love.